Studio Responsibility Index - glaad
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
2020 Studio Responsibility Index
STUDIO RESPONSIBILITY INDEX 2020
From the Office of
the President & CEO, Sarah Kate Ellis
GLAAD created the Studio Responsibility Index in Two years ago, GLAAD issued a challenge - 20
2013 to track lesbian, gay, bisexual, transgender, percent of annual major studios releases must include
and queer (LGBTQ) inclusion in major studio films LGBTQ characters by the 2021-year’s end, and that
after seeing the progress our TV research had driven 50 percent must include LGBTQ characters by the
in the industry and with creators. Entertainment is end of 2024. While the COVID-19 global pandemic
America’s most widespread cultural export – reflecting has and will continue to have ripple effects across the
the culture that produces it while also having the film business and all businesses, we still believe in this
opportunity to shape culture through nuanced and challenge and reaffirm our commitment to holding
inclusive storytelling – and wide release major studio the industry accountable for telling inclusive stories.
films are marketed to and accessible by billions of Four studios individually hit this 20 percent goal:
people across the U.S. and around the world. Yet, Paramount Pictures at 33 percent of their annual slate
LGBTQ characters are still often sidelined or entirely including LGBTQ characters, United Artists Releasing
excluded from major Hollywood releases. at 29 percent, Lionsgate at 25 percent, and Walt
While we have seen consistent forward movement in Disney Studios rounding out at 21 percent – though no
LGBTQ representation on television in recent years, studio hit the previous years’ established record high
mainstream films continue to lag behind. Every year, percentage for a single studio of 40 percent (20th
this study continues to find a pattern of inconsistency Century, since acquired by Disney).
in the quantity, quality, and diversity of LGBTQ stories In GLAAD’s most recent Where We Are on TV study,
year over year as well as across single studio’s slates. we challenged the TV industry to ensure that within the
GLAAD’s 2019 Studio Responsibility Index (SRI) for next two years, half of LGBTQ characters tracked are
the first time reported two studios receiving a grade people of color. We are extending that message to the
of “Good” in the same year meaning the quality, film industry as well. While the studios have previously
quantity, and diversity of LGBTQ inclusion was hit this mark with 57 percent of LGBTQ characters
significant. Our 2020 SRI tells a bleaker story – that counted as people of color in 2017, the 23-percentage
challenges remain. point drop in two years signals a negative trend
No studio this year received a grade better than that needs deliberate correction. The entertainment
“Insufficient” based on the quality, quantity, and industry is currently facing a moment of great change
diversity of their full slates – even though GLAAD is as new content platforms are launching, the model
reporting a record-high percentage of inclusive films of business is being redefined under the global
found in a single year across all the studios tracked pandemic, and companies are facing a deserved
(a 0.4-percentage-point increase to 18.6 percent). reckoning of their part in the structural and systemic
racism of the industry, most particularly towards Black
Admittedly, simple numbers do not tell the full story. creatives and audiences. We stand alongside our
Audiences should be able to see the full diversity of partners in the Black Lives Matter movement and
the LGBTQ community reflected in film. This is the other underrepresented populations to demand that
second year in a row GLAAD counted a significant tomorrow’s stories include all of us.
decrease in the percentage of LGBTQ characters who This challenge and our previously set benchmarks are
are people of color, down to just 34 percent or 17 key drivers towards ensuring that the entertainment on
total characters in mainstream releases. Additionally, our screens is actually reflective of the world in which
this year, for the first time in the SRI GLAAD analyzed we live and the audiences who consume it. Together,
the disability status of LGBTQ characters and found these benchmarks are the first step in creating a
one gay character with a disability in all major studio barometer that will help move the needle forward on
releases. For the third year in a row, there was not a LGBTQ representation in film that will guide the studios
single transgender character in a major release while towards improved grades.
TV has seen groundbreaking shows like Pose draw
audiences and critical acclaim. There has been significant change in the film industry
since this report launched in 2013. The layout of the
2
STUDIO RESPONSIBILITY INDEX 2020
major studios shifted in 2019 after Disney’s acquisition and industry leaders to better produce and market
of 20th Century as a new imprint distributed under compelling, entertaining LGBTQ characters that do not
their parent company. GLAAD also added this year reinforce harmful and outdated stereotypes.
STX Entertainment and United Artists Releasing to Activists who understood the power of the media and
the lineup of major studio distributors quantified in the power of smart, authentic narratives to create real
this report based on their release pattern, reach, cultural change founded GLAAD. And it is these same
and slates as compared to the studios traditionally guiding principles which remain at the heart and soul
tracked. Despite changes in how consumers view of our mission – today and always.
and engage with films, and COVID-19 resulting in
the temporary closure of movie theaters across the
globe, film releases for wide audiences at cinemas still
matter. Several upcoming LGBTQ-inclusive films have
been rescheduled for theatrical exhibition, allowing
communal experiences for LGBTQ audiences and our
allies to see these stories on the big screen – together.
Another change since our first SRI has been the
release of several outstanding LGBTQ films from major
studios including Love, Simon, Blockers, Booksmart,
Rocketman, and more, and the increasing frequency of
announcements of leading queer heroes in upcoming
major releases. The GLAAD Media Institute is working
everyday with major studios and streaming services
on upcoming LGBTQ-inclusive film productions. These
are all exciting signs of the impact of this report these
past eight years, and the overall changing cultural
conversation about representation spurred on by
activists and fans. Though these represent just a
handful of projects, there are plenty of opportunities
for studios to improve their slates when it comes to
LGBTQ-inclusion.
The next year will include the release of several highly
anticipated major studio films with leading LGBTQ
characters, including the first gay superhero in a
Marvel blockbuster (The Eternals) and a holiday-
themed romcom about a lesbian couple (Happiest
Season). While we celebrate these moments, inclusion
must also be scaled across a company’s slate. This
means telling stories that center LGBTQ characters,
as well as casual inclusion of LGBTQ characters in all
movies. This year’s report noted several instances of
this kind of casual inclusion, but unfortunately, many
were too minor, almost entirely missed by audiences or
so understated as to be relegated to subtext.
Proudly, GLAAD is a resource for and to content
creators and marketers. Our GLAAD Media Institute
is driving a culture revolution through advocacy
and providing education, consultation, research Sarah Kate Ellis,
and contextualized analysis, and training creators President & CEO, GLAAD
3
STUDIO RESPONSIBILITY INDEX 2020
EXECUTIVE SUMMARY
In GLAAD’s 2018 SRI, we called on the studios to ensure that 20 percent of annual major studio releases be
LGBTQ-inclusive by 2021, and 50 percent inclusive by 2024. In 2019, 18.6 percent of films (22 of 118) from
the eight major studios tracked contained LGBTQ characters, a small increase from 2018’s 18.2 percent.
Four of the eight studios achieved this 20 percent goal individually (Paramount Pictures at 33 percent,
United Artists Releasing hit 29 percent, Lionsgate following at 25 percent, and Walt Disney Studios rounding
out the group at 21 percent).
There was a slight increase in the percentage of LGBTQ-inclusive films distributed by the studios
tracked in 2019, up to 18.6 from 18.2 percent. This marks the highest percentage of inclusive films
among all major studio releases since GLAAD began tracking in 2012. However, this finding does not
paint the full picture; it must be considered in context with the quality of stories told and the lack of
underrepresented LGBTQ identities.
Mainstream film again lags far behind other forms of entertainment when it comes to representing the
full diversity of the LGBTQ community. For the second year in a row, the percentage of LGBTQ
characters of color dropped drastically, down to 34 percent (17 of 50) from 42 percent in 2018,
and 57 percent in 2017. This year, for the first time, GLAAD counted LGBTQ characters with disabilities,
only to find a single character who eventually died. Further, the number of queer women dropped year
over year from 19 to 16.
Perhaps the most glaring way that mainstream film fails to be inclusive is the complete lack of
transgender characters in major studio releases in 2019, for the third year in a row. The one non-
binary character in the year before that (2016) existed solely as a punchline.
This year’s report found LGBTQ characters in much smaller roles than the previous year. Only nine
LGBTQ-inclusive films included a character with more than 10 minutes of screen time, and more than
half of all LGBTQ characters still had less than three minutes of screen time (56 percent) with
the majority seen for less than one minute on screen (21 characters or 42 percent of all
LGBTQ characters).
4
STUDIO RESPONSIBILITY INDEX 2020
2019 OVERALL FINDINGS, BY STUDIO
Lionsgate R A T I N G / INSUFFICIENT
25%
2 0 T O T A L F I L M S / 5 LGBTQ-INCLUSIVE FILMS
Paramount Pictures R A T I N G / INSUFFICIENT
33%
9 T O T A L F I L M S / 3 LGBTQ-INCLUSIVE FILMS
Sony Pictures Entertainment R A T I N G / POOR
13%
16 TOTAL FILMS / 2 LGBTQ-INCLUSIVE FILMS
STX Films R A T I N G / FAILING
0%
9 TOTAL FILMS / 0 LGBTQ-INCLUSIVE FILMS
United Artists Releasing R A T I N G / INSUFFICIENT
29%
7 TOTAL FILMS / 2 LGBTQ-INCLUSIVE FILMS
Universal Pictures R A T I N G / INSUFFICIENT
18%
17 TOTAL FILMS / 3 LGBTQ-INCLUSIVE FILMS
Walt Disney Studios R A T I N G / POOR
21%
19 TOTAL FILMS / 4 LGBTQ-INCLUSIVE FILMS
Warner Bros. R A T I N G / POOR
14%
21 TOTAL FI LMS / 3 LGBTQ-INCLUSIVE FILMS
5
STUDIO RESPONSIBILITY INDEX 2020
table of
contents
From The Office of President & CEO, Sarah Kate Ellis 2
Executive Summary 4
From the Desk of the Director of Entertainment Research & Analysis 8
Methodology10
The Vito Russo Test 11
Overview of Findings 12
Observations and Recommendations 14
6
STUDIO RESPONSIBILITY INDEX 2020
Lionsgate 16
Roadside Attractions 20
Paramount Pictures 21
Sony Pictures 23
Sony Pictures Classics 26
STX Films 28
United Artists Releasing 30
Universal Pictures 33
Focus Features 37
Walt Disney Studios 38
Searchlight Pictures 42
Warner Bros. 43
Additional Distributors 47
About & Acknowledgements 51
7
STUDIO RESPONSIBILITY INDEX 2020
From the desk of Megan Townsend,
Director of Entertainment Research & Analysis
Storytelling is the cornerstone of our society – we percent of non-LGBTQ respondents reported seeing
learn by sharing our experiences, connecting with LGBTQ characters and stories on-screen made them
each other, telling our life stories, and learning feel more comfortable with LGBTQ people. Among
about the wider world around ourselves and how LGBTQ respondents, 87 percent feel that film and
to interact with our environments. Popular media is TV more accurately reflect the LGBTQ community
the most impactful tool we use to share those stories now than just two years ago; showing that change
on a global scale. Therefore, it is essential that the is moving quickly, though respondents specifically
stories we are exporting include LGBTQ people, and highlighted a need for improvement with more
are reflecting the full diversity of our community and storylines featuring LGBTQ parents and families
experiences. We know that #RepresentationMatters, among others. This is particularly noteworthy as
and getting to know, see, hear from, and connect with 75 percent of LGBTQ respondents reported feeling
LGBTQ people through entertainment continues to be that entertainment has helped their family to better
a pathway to greater understanding and acceptance. understand the community. A 2015 Variety survey³
Here’s the proof: found that 38 percent of people polled cited LGBTQ
characters as a “key influence” in their support for
GLAAD and Procter & Gamble recently launched the community. All these findings continue to align
the first LGBTQ Inclusion in Advertising and Media with studies dating back to the 1990s4 that have
study¹, a survey measuring the attitudes of non- persistently proven that inclusive entertainment or
LGBTQ Americans to exposure of LGBTQ people and news media has a significant effect on viewer’s
images in the media. The survey found audiences are perceptions of the LGBTQ community and accelerating
comfortable with seeing LGBTQ characters in films (76 acceptance.
percent of non-LGBTQ respondents), and the findings
showed that seeing LGBTQ characters in media is Telling meaningful LGBTQ stories is not just the right
related to greater acceptance of the community. thing to do, it’s just great business. Our roadmap to
Simply stated, representation does drive cultural success is found in the numbers.
change and accelerates acceptance. We are a significant audience. GLAAD and The Harris
Respondents who had been exposed to LGBTQ Poll’s Accelerating Acceptance report5 shows that 20
images in media within the past three months reported percent of Americans aged 18-34 and 12 percent
far higher percentages of increased acceptance of aged 35-51 identify as LGBTQ. Twelve percent of
LGBTQ people in recent years compared to those Americans 18-34 identify as transgender or gender
who had not seen an LGBTQ image in media in the non-conforming. A majority of these age groups would
past three months. This ranges from an 11-percentage also call themselves allies – 63 percent of Americans
point difference for non-binary people (41 percent 18-34 and 53 percent of Americans 35-51. We’ve
became more accepting in recent years and had seen seen similar findings substantiated across multiple
images in past three months versus 30 percent who demographics as well; the University of Chicago’s
had not been exposed to images in the past three GenForward 6 Survey found that one in five Latinx
months) and transgender people (44 to 33 percent), millennials identify as LGBTQ. The General Social
a 13-percentage point difference for gays and Survey 7 from NORC at the University of Chicago has
lesbians (48 vs 35 percent), and a 14 point difference shown that young people are increasingly identifying
regarding bisexual people (45 to 31 percent). as bisexual+ and the most notable growth is among
young Black women, with 23 percent of Black women
In June 2020, GLAAD teamed with Netflix for a
18-34 in America identifying as bisexual in 2018.
survey² polling over 6,000 adults in Latin American
countries (Argentina, Brazil, Chile, Colombia, Mexico According to the most recent MPA THEME report8,
and Peru) on the impact of inclusive TV and film. “frequent moviegoers” or those who go to the theater
A majority of respondents (68 percent) said they once a month or more, account for 47 percent of
had watched a show or film that gave them a better all tickets sold in the U.S. and Canada. Moviegoers
understanding of the LGBTQ community, and 73 aged 18-39 made up 40 percent of this “frequent
8
STUDIO RESPONSIBILITY INDEX 2020
moviegoer” audience and were overrepresented recommendations. Forty-nine percent of all LGBTQ
among “frequent” purchasers relative to their moviegoers said they texted, tweeted, or otherwise
proportion of the population. This grouping overlaid posted about a film the same day they saw it as
with the data on the LGBTQ community from compared to with 34 percent of straight audiences, per
the Accelerating Acceptance survey shows Nielsen. The top five genres among LGBTQ audiences
that a significant portion of this group is likely are Horror, Sci-Fi or Fantasy, Romance, Drama, and
LGBTQ moviegoers. Graphic Novels/Comics per Nielsen. A 2016 study10
Nielsen’s State of the LGBTQ Moviegoer report9 found LGBTQ buying power in the U.S. alone to
explicitly states “studios and theaters alike can bolster be $917 Billion, with recent estimates showing
box office sales by […] tailoring their promotions and further growth.
offerings to LGBT moviegoers’ entertainment needs.” Studios must acknowledge these trends, paying
Nielsen found that queer audiences are 22 percent particular attention to promoting and advertising
more likely to see a new theatrical release more than titles that include LGBTQ characters, and informing
once compared to straight audiences at three out audiences as to why they should consistently and
of every 10 surveyed respondents. The same study loyally purchase movie tickets and spread the word.
additionally reported that LGBTQ audiences are also Harnessing the power and passion of these audiences
meaningful long-term customers with respondents can only benefit studios’ bottom lines.
being nine percent more likely than non-LGBTQ GLAAD works every day to educate, support, and
audiences to purchase a film on DVD, Blu-Ray or challenge networks, studios, and creators to ensure
Digital and 22 percent more likely to have a streaming fair, accurate, and inclusive LGBTQ representations in
service subscription. media. In this changing world, we remain vigilant and
LGBTQ audiences are also more likely to focused on the work to be done.
generate social media buzz and word of mouth
Megan Townsend
Director of Entertainment Research & Analysis,
GLAAD Media Institute, GLAAD
¹ “LGBTQ Inclusion in Advertising and Media.” GLAAD/P&G. 4
Gillig, Traci K., Rosenthal, Erica L., Murphy, Sheila T., and Folb, Kate
27 May 2020. Langrall. “More than a Media Moment: The Influence of Televised Storylines
on Viewers’ Attitudes toward Transgender People and Policies.” Sex Roles. 2
² “GLAAD AND NETFLIX CELEBRATE THE LGBTQ CHARACTERS AND
August 2017.
SHOWS THAT BRING LATIN AMERICANS TOGETHER ALL YEAR LONG”
Netflix. 10 June 2020. 5
“Accelerating Acceptance.” GLAAD/Harris Poll. March 2017.
³ Lang, Brett. “Ellen DeGeneres Influenced Gay Rights Views More Than Any 6
Duran, Eric. “Latino millennials least likely to identify as heterosexual,
Other Celebrity (Study).” Variety. 30 June 2015. survey finds.” NBC News. 23 July 2018.
4
Riggle, Ellen, Ellis, Alan L and Crawford, Anne M. “The Impact of ‘Media 7
Oppenheim, Maya. “Number of young black women in US identifying as
Contact’ on Attitudes Toward Gay Men. Journal of Homosexuality. bisexual has ‘trebled in past decade’.” The Independent. 13 June 2019.
February 1996. 8
Theatrical Home Entertainment Market Environment (THEME) Report.
4
Lavina, Marina, Waldo, Craig R, and Fitzgerald, Louise F. “We’re Here, Motion Picture Association. March 2020.
We’re Queer, We’re on TV: The Effects of Visual Media on Heterosexuals’ 9
“Lights, Camera, Action! State of the LGBTQ Moviegoer.” Nielsen. 13
Attitudes Toward Gay Men and Lesbians.” Journal of Applied Social
January 2014.
Psychology. April 2000.
10
“America’s LGBT 2015 Buying Power Estimated at $917 Billion.” Witeck
4
Cooley, Jonna J. and Burkholder, Gary J. “Using Video and Contact
Communications. 20 July 2016.
to Change Attitudes Toward Gay Men and Lesbians.” Journal of Social,
Behavioral, and Health Sciences. 2011.
9
STUDIO RESPONSIBILITY INDEX 2020
Methodology
For this report, GLAAD focused its analysis on the eight film These divisions include:
studios that had the highest theatrical grosses from films
• Focus Features
released in 2019, as reported by the box office database
• Roadside Attractions
Box Office Mojo. Those eight are:
• Searchlight Pictures
• Lionsgate • Sony Pictures Classics
• Paramount Pictures
Each film was researched and reviewed for inclusion of
• Sony Pictures
lesbian, gay, bisexual, transgender, and queer (LGBTQ)
• STX Films
characters. The total number of LGBTQ characters was
• United Artists Releasing
recorded for each film, as well as each character’s race/
• Universal Pictures
ethnicity, sexual orientation, gender identity, and disability
• The Walt Disney Studios
status based on what was presented in the film.
• Warner Bros.
The films were also reviewed for the presence of general
This report examines films that were distributed theatrically LGBTQ content and anti-LGBTQ language or “humor,”
during the 2019 calendar year (January 1 to December though, because such content must be considered in
31) in the United States under the official studio banners context, “language” was not quantified for this report.
and imprints as reported by Box Office Mojo, the studios, Additionally, each film was assigned to one of five
and other entertainment reporting sources. For the first time, genre categories:
in this year’s report GLAAD included STX Films and United
Artists Releasing in its quantified tally of major studios. • Comedy
This decision was made due to the breadth of projects • Drama
slated, wide release business model, box office and critical • Family
success of several films released by these studios, which • Fantasy/Sci-Fi/Action
were comparable to the existing major studios. Twentieth • Documentary
Century released two films in 2019 prior to its being
The family category included animated and children’s
acquired by Walt Disney Studios in March. GLAAD made
films rated PG and under. The category of Fantasy/Sci-
the decision to include those two films in the Disney slate
Fi/Action also included horror films and action films not
as studio structure changes were happening dating back
rooted in reality rated PG-13 and above. In the case of
to Fall 2018. GLAAD did not include theatrical re-releases
films that straddled genres, categories were determined
and special events such as filmed live events in this count.
based on the predominant genre suggested by both the
Films distributed by these studios’ “art house” divisions
film and its marketing campaigns.
(such as Searchlight Pictures) were analyzed separately
and not part of the parent studio’s final assessment. The We recognize that not all audiences will agree with some
total number of films released by major studios that met our of the films determined to be LGBTQ-inclusive and vice
criteria is 118. versa. GLAAD’s methodology is anchored by categorizing
GLAAD separately analyzed the films released under four characters as LGBTQ based on what is presented on
smaller studio imprints, often referred to as “art house” screen as part of the film and/or through wide and
divisions. This was done to compare the quantity and commonly held cultural knowledge of a real life figure.
quality of LGBTQ representations in these studios’ releases
Based on the overall quantity, quality, and diversity of
directly to parent companies. These specialty films are
LGBTQ representation in the studio’s slate, a grade was
typically distributed and marketed to a much smaller
then assigned to each major studio: Excellent, Good,
audience than their major studio counterparts. These
Insufficient, Poor, or Failing. Please note, prior to the 2017
distinctions were best defined by reporting of Box Office
report, GLAAD assigned studios scores on a four point
Mojo and other entertainment industry databases. The total
scale of Excellent, Good, Adequate, or Failing.
number of films that met our criteria is 34.
10STUDIO RESPONSIBILITY INDEX 2020
The Vito Russo Test
Taking inspiration from the Bechdel Test, which examines the way women characters are portrayed and situated
within a narrative, GLAAD developed its own set of criteria to analyze how LGBTQ characters are included within
a film. The Vito Russo Test takes its name from celebrated film historian and GLAAD co-founder Vito Russo, whose
book The Celluloid Closet remains the bedrock for analysis of early LGBTQ portrayals in Hollywood film. These
criteria can help filmmakers create more multidimensional characters while providing a barometer for LGBTQ
representation. This test represents an expectation and standard, providing a roadmap for a greater number of
mainstream Hollywood films to reach and surpass.
More films need to include substantial LGBTQ characters that pass this simple test. However, as several of the
films tracked prove, passing this test does not guarantee that a film is free of problems, offensive in its portrayals
or tropes. Some previous examples of films which passed the test but which still contain offensive content include
Zoolander 2, Hazlo Como Hombre, and CHiPS– all included LGBTQ characters tied to the film’s plot, but whose
stories were objectionable. Passing the Vito Russo Test is a first step, rather than the finish line.
For a film to pass
% OF LGBTQ-INCLUSIVE FILMS THAT
the Vito Russo Test, PASSED THE VITO RUSSO TEST, BY YEAR
the following must
be true: 2019 73% (16 OF 22) or 14% OF 118 TOTAL FILMS
1 The film contains
a character that is 2018 65% (13 OF 20) or 12% OF 110 TOTAL FILMS
identifiably lesbian, gay,
bisexual, transgender,
and/or queer.
2017 64% (9 OF 14) or 8% OF 109 TOTAL FILMS
2 That character must not be
solely or predominantly
defined by their sexual 2016 39% (9 OF 23) or 7% OF 125 TOTAL FILMS
orientation or gender
identity
(i.e. they are comprised of the same sort
of unique character traits commonly 2015 36% (8 OF 22) or 6% OF 126 TOTAL FILMS
used to differentiate straight/cisgender
characters from one another).
3 The LGBTQ character must 2014 55% (11 OF 20) or 10% OF 114 TOTAL FILMS
be tied into the plot in such
a way that their removal
would have a significant
effect, meaning they are 2013 41% (7 OF 17) or 7% OF 102 TOTAL FILMS
not there to simply provide
colorful commentary, paint
urban authenticity, or
2012 43% (6 OF 14) or 6% OF 101 TOTAL FILMS
(perhaps most commonly)
set up a punchline. The
character must matter.
11STUDIO RESPONSIBILITY INDEX 2020
Overview Of Findings
1 2
Of the 118 films GLAAD
counted from the major
studios in 2019, 22 (18.6
percent) contained characters
identified as LGBTQ. This is
a slight improvement
of 0.4 percent, and
increase of two films
from the previous year’s 18.2
percent (20 of 110 films).
GAY M E N L E S BI A NS BI S E X U ALS
68% 36% 14%
FILMS WITH LGBTQ CHARACTERS
18.6% ( U P 0 . 4 % F R O M 2 018 )
This year showed a
decrease in lesbian
3 and bisexual
representation. Gay men
GLAAD tallied 50 total LGBTQ characters among all appear in 68 percent (15) of
mainstream releases in 2019, an increase from 45 in 2018. inclusive films, an increase
Men continue to outnumber women characters, by from last year’s 55 percent.
an even greater margin than last year. In 2019, of the LGBTQ Lesbian representation has
characters, there were 34 men and 16 women, compared decreased significantly,
to the 26 men and 19 women of 2018’s major studio down to 36 percent (8)
films. There were zero transgender or non-binary of inclusive films from 55
characters counted in mainstream releases this year. percent in 2018. Bisexual
representation slightly
decreased to 14 percent, a
LGBTQ
CHARACTERS one-percentage point drop
but an equal number of films
MEN 34 (three). There were zero films
with transgender characters
from the major studios in
2019, a disappointing
WOMEN 16
finding consistent with the
last two years.
12STUDIO RESPONSIBILITY INDEX 2020
4 5
For the first time, GLAAD counted LGBTQ characters with
disabilities. This year, there was only one character
with a disability (two percent of all LGBTQ
characters) in major releases. Subsidiary releases from
art house studios counted two LGBTQ characters with
disabilities, both from Sony Pictures Classics.
6
Again, drama and COMEDY
16 TOTAL /
comedy films were the 7 INCLUSIVE (44%)
most inclusive genres
DRAMA
WHITE this year, with seven 35 TOTAL /
LGBTQ CHARACTERS 66% inclusive films each. 7 INCLUSIVE (20%)
Genre films (Action, Sci-Fi, GENRE
BLACK Fantasy/Horror) followed 45 TOTAL /
LGBTQ CHARACTERS 22% 6 INCLUSIVE (13%)
with six inclusive films,
LATI NX while Animated/Family FAMILY
LGBTQ CHARACTERS 8% films counted two, and 20 TOTAL /
2 INCLUSIVE (10%)
there were zero LGBTQ-
ASIAN/PACIFIC ISLANDER DOCUMENTARY
inclusive documentaries
LGBTQ CHARACTERS 4% 2 TOTAL /
from the major studios. 0 INCLUSIVE (0%)
The racial diversity of LGBTQ
7
characters saw another 5 LGBTQ-INCLUSIVE FILMS
significant decrease this year, LIONSGATE (20 TOTAL / 25%)
Among the studios,
with only 34 percent of LGBTQ 4 LGBTQ-INCLUSIVE FILMS
Paramount Pictures DISNEY (19 TOTAL / 21%)
characters being people of color,
had the highest
compared to 42 percent in 2018, 3 LGBTQ-INCLUSIVE FILMS
percentage of LGBTQ- PARAMOUNT (9 TOTAL / 33%)
and 57 percent in 2017. Of the 50
inclusive films at 33 UNIVERSAL (17 TOTAL / 18%)
characters counted in 2019, 33 were WARNER BROS. (21 TOTAL / 14%)
percent (three films),
white (66 percent), 11 were Black 2 LGBTQ-INCLUSIVE FILMS
while Lionsgate had
(22 percent), four were Latinx (eight UNITED ARTISTS (7 TOTAL / 29%)
the highest number at
percent), and two were Asian/ SONY (16 TOTAL / 13%)
five films (25 percent).
Pacific Islander (four percent). 0 LGBTQ-INCLUSIVE FILMS
STX (9 TOTAL / 0%)
Separately, GLAAD examined the film releases of four smaller, affiliated studios (Focus Features,
Roadside Attractions, Searchlight Pictures, and Sony Pictures Classics) to draw a comparison between
content released by the mainstream studios and perceived “art house” divisions. Of the 34 films released
under those art house imprints in 2019, GLAAD found eight to be LGBTQ-inclusive (24 percent). This is a
significant decrease from 35 percent (14 out of 40) in 2018. It is also worth noting that all of the LGBTQ
characters counted in the subsidiary studios were white men.
13STUDIO RESPONSIBILITY INDEX 2020
Observations & Recommendations
GLAAD OFFERS THE FOLLOWING INSIGHTS ON HOW STUDIOS CAN
BOTH IMPROVE DEPICTIONS OF LGBTQ CHARACTERS AND AVOID
CRITICAL MISTAKES AND SETBACKS.
A repeated problem found across several films in 2019: LGBTQ characters are too often
featured in major blockbuster films in moments so small many audiences could have easily
missed them.
Of the 22 LGBTQ-inclusive films GLAAD counted from the eight studios tracked, only nine included an LGBTQ character
who had more than ten minutes of screen time. More than half of LGBTQ characters (28 of 50, 56 percent) received less
than three minutes of total screen time, with 21 of those appearing for less than one minute. Several LGBTQ characters
were so minor that they were not given names. Films like Rocketman and Booksmart told stories with gay and lesbian
leads whose identities were a sizable aspect of the plot, while blockbusters like Avengers: Endgame and Toy Story 4
included more incidental characters in only one scene. While all of those stories have their own impact, there is a huge
opportunity existing in the spectrum between these models for meaningful LGBTQ storytelling. The huge waves of press
garnered when announcements were made about blockbuster films including LGBTQ characters proves the passion and
power of LGBTQ audiences anxious to support – and buy tickets to – these films. Hollywood must feel encouraged and
empowered to leverage that interest and buying power by delivering movies that include substantial LGBTQ characters
and by unambiguously marketing and promoting those movies.
In 2019, mainstream films significantly regressed in representing the full diversity of the
LGBTQ community. This must change.
For the second year in a row, the racial diversity of LGBTQ characters decreased considerably with only 34 percent (17)
of LGBTQ characters being people of color (POC) in 2019. This is after a fifteen-percentage point drop the previous year,
going from 57 percent in 2017 to 42 percent LGBTQ POC in 2018. Of the 17 LGBTQ characters of color counted this
year, only four characters counted more than three minutes of screentime with just one character appearing for more than
ten minutes (Pepe in Perfect Strangers). In arthouse subsidiary films, which are typically perceived to be more inclusive,
the results were even bleaker. All 17 LGBTQ characters counted in 34 films were white, gay men. For the first time this
year, GLAAD quantified LGBTQ characters with disabilities and found disheartening news. Of the 50 LGBTQ characters
in major releases, one (two percent) was a character with a disability and he ultimately dies (Poe in Lionsgate’s Five Feet
Apart). GLAAD challenges Hollywood to prioritize authentic and meaningful LGBTQ characters and stories highlighting
the full community and including LGBTQ characters living at the intersection of multiple identities. More LGBTQ people
of color, characters with disabilities, transgender and non-binary characters, those of different religions and faiths, body
types, more queer women, characters who are asexual, and others will only fuel Hollywood’s future success.
For the second year in a row, only three major studio releases counted in GLAAD’s report
included bisexual+¹ characters despite bi+ people making up the majority of the community2.
Those films are Bombshell and Anna from Lionsgate, and Good Boys from Universal. One positive finding is that this
year’s bisexual+ characters avoided the transactional trope we’ve seen too often – that is, women characters only
engaging in a romance with another woman to gain something they need (often information or access) rather than out of
any genuine interest. Unfortunately, there are zero bisexual+ men this year. This erasure has a real impact on bisexual+
people who are less likely to be out of the closet than gays or lesbians, and report higher levels of minority stresses.
Hollywood has an opportunity to lead and drive cultural change by telling compelling stories about fully developed
bisexual+ characters.
14STUDIO RESPONSIBILITY INDEX 2020
GLAAD recorded zero transgender characters in the 118 major studio films released in 2019,
a finding consistent with the previous two years.
Disappointingly, film continues to lag behind other media as a third straight year passes with zero transgender characters
in major releases. Meanwhile, the same time period on TV has seen the premiere of FX’s history making Pose, television’s
first transgender superhero on The CW’s Supergirl, and transgender men stepping into series regular roles on FOX’s
9-1-1: Lone Star, Showtime’s The L Word and Work in Progress. Yet, major studio films continue to leave trans characters
out of the story. While the year did include four transgender and/or non-binary actors in major releases - Trace Lysette
in Hustlers, Indya Moore in Queen & Slim, Zach Barack in Spider-Man: Far From Home, and Asia Kate Dillon in John
Wick 3 – none of those films established those characters as transgender or non-binary within the film’s world. We are
pleased to see trans actors being cast in roles that are not explicitly written as transgender. However, for this report,
GLAAD did not count those characters in its tally based on what was on screen. Polls show that approximately 20
percent of Americans say they personally know someone who is transgender, compared to nearly 90 percent who
know someone who is lesbian, gay, or bisexual. There is incredible opportunity for storytellers to lead change and to
accelerate acceptance by sharing and uplifting the experiences of trans people, and we’d like to see film catch up to TV
in this respect. GLAAD and 5050by2020’s TRANSform Hollywood ³, a free, in-depth digital guide offering tips and best
practices for collaborating with trans storytellers and fostering a more trans-inclusive production environment, is a first
step resource available for productions beginning this work. Creators should also screen Disclosure, a new documentary
available on Netflix, which explores and contextualizes the last 100 years of trans representation on TV and in film as a
further resource on best practices and what to avoid.
This year, GLAAD counted two inclusive animated and family films, after having seen zero
in the previous year’s report. Yet still, the category lags behind the programming boom
happening in television for all-ages.
In our previous report for the first time in five years, GLAAD did not count a single inclusive film in the animated/family
film genre released in 2018. In 2019, there were two inclusive films in this genre, though the moments are incredibly minor
(two dads dropping their child off to camp in Paramount’s Wonder Park, and two moms escorting their child to school in
Disney’s Toy Story 4). While these are nice moments of casual inclusion, affirming that LGBTQ people exist in all families
of every kind, film should look to the boom and success of queer and trans representation in all ages programming
happening on TV. With LGBTQ characters in significant roles on series including Arthur (PBS), She-Ra and The Princesses
of Power and Kipo and the Age of the Wonderbeasts on Netflix, Steven Universe on Cartoon Network and more. LGBTQ
families and parents are part of the world experienced by kids, and should be part of the movies they see with their
families. And LGBTQ youth, who are coming out at younger ages as cultural acceptance grows, deserve to see age-
appropriate positive and truthful representations of themselves in film. These small moments seen these past few years
need to progress to more significant characters and stories appearing more regularly.
¹ Bisexual+ or bi+ is an encompassing term for people with the capacity to be attracted to more
than one gender. Can include people who identify as bisexual, pansexual, fluid, queer, and more.
² “How many people are lesbian, gay, bisexual, and transgender?” Williams Institute.
³ “TRANSform Hollywood.” GLAAD/5050by2020. August 2018.
15STUDIO RESPONSIBILITY INDEX 2020
2019
R AT I N G
INSUFFICIENT
M O I S E S A R I AS AS P O E , F I V E F E E T A PA RT
Lionsgate Entertainment
Summary of 2019 Findings Lionsgate was founded in 1997 by Frank Giustra. In its
slightly over two decades, Lionsgate has produced and
20 films released theatrically in 2019
under studio & official imprints
distributed major blockbusters including the Twilight,
Hunger Games and John Wick franchises, and acquired
studios including Summit Entertainment and Pantelion,
5 total number of LGBTQ-inclusive films focusing on films for a Latinx audience.
The first film Lionsgate released was 1997’s The Pillow
25 percent of LGBTQ-inclusive films of Book, in which Ewan McGregor plays a bisexual man.
% studio total releases Other LGBTQ-inclusive films from the studio include Gods
and Monsters (1998), But I’m a Cheerleader! and Urbania
5 number of films that pass the
Vito Russo Test
(2000), Lost and Delirious and All Over the Guy (2001),
Happy Endings (2005), Precious (2009), The Perks of
Being a Wallflower (2012), American Ultra, Freeheld
Studio Rating Over Time (2015), and Un Padre No Tan Padre (2017).
2019 Insufficient Anna
WIDEST THEATRICAL RELEASE: 2114 THEATERS
2018 Failing VI T O R US S O T E S T: PA S S
This thriller follows the titular Anna, a Russian spy recruited
2017 Failing
by the KGB. There is a period in the film where Anna is
undercover in Paris as a model, and she begins dating
2016 Failing
fellow model Maude, who is unaware of Anna’s real
identity. Though Anna never tells Maude the whole truth, it
2015 Adequate
does not seem that she is dating her for any reason besides
enjoying her company. Anna also has sexual relationships
2014 Adequate with men in the film and her bisexuality is never discussed
- simply presented. It is refreshing to see, in a genre where
2013 Adequate bisexuality is far too often employed as a transactional plot
device, that Anna’s relationship with Maude was genuine
N/A 2012 Not Tracked and separate from her undercover work.
16STUDIO RESPONSIBILITY INDEX 2020
Bombshell
WIDEST THEATRICAL RELEASE: 1721 THEATERS
VI T O R US S O T E S T: PA S S
This GLAAD Media Award-nominated drama
follows the sexual assault allegations against former
Fox News CEO Roger Ailes. The film uses several
characters from real life and others that are fictional
amalgamations of Fox News employees. Two of the
fictional characters are Kayla Pospisil and Jess Carr
(out actress Kate McKinnon). The two end up sleeping
together early on in the film. Jess is clear about the
fact that she is a lesbian, and Kayla replies that she is
not and does later go on a date with a man. Kayla’s
character is presented as a conservative, Christian
worker at Fox News, who sleeps with a woman, yet
the contrast of her sexuality clashing with the ideals
of her workplace is not brought up. Jess, however,
does discuss how she cannot jeopardize her status at
Fox News or with Ailes, and that she fears possible
job discrimination, reduced opportunities, or worse
as a lesbian. Though the film could have gone further
in depicting the complexity of queer women in the
workplace subjected to sexism and homophobia,
it was good to see that neither Kayla or Jess was
ashamed of their queerness.
Cold Pursuit
WIDEST THEATRICAL RELEASE: 2630 THEATERS
VI T O R US S O T E S T: PA S S
This action movie follows a gang war that begins
when protagonist Nels Coxman’s son dies of a forced
overdose, and he seeks revenge against the cartel
who killed his son. The villain of the film, Viking, has
two key henchmen revealed in the film’s third act to
be in a relationship, Dexter and Mustang. After Viking
murders Dexter, Mustang chooses to seek his own
revenge, betraying Viking by working with another
faction in a move that ultimately leads to Viking’s
death. In a film with such a high body count where
nearly every member of the gang war is killed, it is
noteworthy that Mustang survives the movie’s climax.
It is interesting to note that the final scene of the film
leaves some room for interpretation by the audience
as Mustang is left alone in a room with a gun.
17STUDIO RESPONSIBILITY INDEX 2020
Five Feet Apart
WIDEST THEATRICAL RELEASE: 2866 THEATERS
VITO RUS S O T E ST: PA S S
Based on the novel of the same name, Five Feet Apart The Adjudicator and establish them as non-binary
is a romantic drama about Stella and Will, two teens on screen, potentially, with a moment where they
with cystic fibrosis who are forbidden to be closer than share their pronouns, discuss their being non-binary
five feet together to reduce the risk of cross-infection. or similar. As it stands now, however, GLAAD did not
They are both friends with Poe, another patient with count this character in its tally based on the content of
cystic fibrosis, who is gay, and talks about some of his the film itself.
ex-boyfriends, including his most recent ex, Michael,
though the audience does not ultimately see him. Perfect Strangers
Unfortunately, Poe dies midway through the movie, WIDEST THEATRICAL RELEASE: 132 THEATERS
right before he had planned to get back together with VI T O R US S O T E S T: PA S S
Michael and to introduce him to his mother. Poe’s
Based on an Italian film of the same name, Perfect
death propels other parts of the plot, primarily Stella
Strangers is set in Mexico City where friends at a
and Will’s romance and their realization of how short
dinner party decide to play a game where everyone
life is.
puts their phones in the middle of a table, and the
It is unfortunate that this film introduced a vibrant entire group reads every message and answers every
character, who was gay, Latino, and living with a call. Over the course of the game, it is revealed that
disability, only to have him eventually die to further one of the group, Pepe, is gay and has a boyfriend.
the plot of the central straight white characters. While However, he had traded phones with his friend,
the film’s finale hints at Will’s eventual death, Poe is Ernesto, to help Ernesto hide his infidelity from his wife.
the one central character to die on-screen. When there When the group begins to believe Ernesto is gay after
is only one gay character in a project – whose story seeing the phone’s messages and contents, the friends
culminates as a plot device for a straight romance – it become incredibly homophobic, saying offensive
does not send a positive message to audiences for things, and using anti-gay slurs. This continues to such
that character to then also die. This is just one more an extent that when Pepe reveals the phone switch
example of Hollywood’s decades-long “Bury Your and outs himself, he tells the group that he did not
Gays” trope. confide in them as he wanted to protect his partner
from judgement or rejection. It is also revealed that
John Wick: Chapter 3 -
Pepe was fired from his job at a local school when his
Parabellum bosses learned he was gay.
WIDEST THEATRICAL RELEASE: 3850 THEATERS
At the end of the film, the audience sees that the game
VITO RUS S O T E ST: FA IL
did not actually happen after the guests had refused,
The third film in the John Wick franchise introduces and everyone’s secrets are still hidden, meaning that
The Adjudicator, a representative of The High Table, Pepe is still closeted.
sent to hunt John Wick. The Adjudicator is played by There was an opportunity here to tell a refreshing
non-binary actor Asia Kate Dillon, who uses they/ coming out story. Instead this central gay character’s
them pronouns. In the film, no pronouns are used for sexuality was regarded as a huge, damaging secret
The Adjudicator. Though Dillon has referred to the and source of conflict in the story. In 2019, Guinness
character as non-binary in the press, nothing in the World Records named the original Italian film as the
film itself indicates that The Adjudicator is non-binary most remade film in movie history with 18 different
to the audience. versions existing of the movie. We wish this version
Given that there are John Wick sequels in had attempted to separate itself by telling a more
development, there is an opportunity to bring back nuanced story.
18STUDIO RESPONSIBILITY INDEX 2020
Opportunities Ahead
It was reported in January 2020 that Lionsgate is in final
negotiations to adapt the GLAAD Media Award-nominated horror
graphic novel Memetic as a feature with Seth Rogen attached to
produce. The book was written and created by out bi writer James
Tynion IV. Memetic centers on a weaponized meme image that
turns people into killers, but college student Aaron finds out he is
immune because he is colorblind. He and his boyfriend Ryan go
on a journey to discover what is happening, and find a way to
save themselves and their friends and family. A horror film with a
queer lead is still incredibly rare to see– even more so a horror
film with a queer character with a disability (Aaron also uses
hearing aids). Lionsgate has a unique opportunity to be a leader
for the rest of the industry.
Other adaptations in the works at Lionsgate include Erin
Morgenstrern’s best-selling novel The Night Circus, which includes
two queer characters of color, Chandresh who is gay and Tsukiko
who is a lesbian. It is essential that they and their queer identities
remain in the film, showing LGBTQ people as an integral part of
the fantasy genre. A new franchise coming from Lionsgate is Peter
Jackson’s adaptation of Chaos Walking, a dystopian young adult
trilogy. In the novels, two men, Ben and Cillian, raise protagonist
Todd in a dystopian world where there aren’t any women. Author
Patrick Ness has confirmed that their relationship is a romantic
one. Both these men are listed as cast in the film adaption (played
by Demián Bichir, Kurt Sutter). Their relationship should be a part
of the story when it is translated into film, and hopefully expanded
upon with more depth. The film has been delayed several
times, but is currently set for an early 2021 release. Lionsgate
announced in 2017 an English adaptation of its 2013 Spanish-
language hit Instructions Not Included. As GLAAD spotlights in the
2014 SRI, a new version of this film would do well to update the
story of the lesbian characters and to eliminate the wildly offensive
transphobic gag.
The feature Ride, a biopic of famous queer astronaut Sally Ride,
is in development at Lionsgate from out director Joey Soloway
(Transparent creator). Ride was with her partner, Tam, for 27
years before Ride passed away in 2012. Hopefully, the film further
explores their relationship as well as highlights Ride’s astounding
career. Lionsgate is also set to adapt the popular video game
Borderlands. The Borderlands franchise has featured several
LGBTQ characters including Athena, Sir Hammerlock, and more.
It would be a huge opportunity for Lionsgate to include these
LGBTQ characters that fans know in the film’s world.
19Founded in 2003 by Howard
Cohen and Eric d’Arbeloff,
A N DY N YM A N A N D DA N I E L C E R Q U E I RA AS DA N A N D STA N , J U DY
Roadside Attractions specializes
largely in independent films. In
2007, Lionsgate bought a portion
of the company. Notable LGBTQ-
inclusive films previously released
by the studio include I Love
You Phillip Morris (2010), Dear
White People, The Skeleton Twins
(2014), Hello, My Name is Doris
(2016), and Whitney (2018).
Summary of 2019 Findings
Roadside Attractions 9 films released theatrically in 2019
under studio & official imprints
SUBSIDIARY OF LIONSGATE ENTERTAINMENT
2 total number of
LGBTQ-inclusive films
Fiddler: A Miracle of Miracles
WIDEST THEATRICAL RELEASE: 77 THEATERS
22 %
percent of LGBTQ-inclusive
films of studio total releases
This documentary is an in-depth reflection on the hit
musical Fiddler on the Roof. Cast, fans, and creatives
involved in the production speak extensively about
the late Jerome Robbins, a gay man who directed
and choreographed the original production. The
documentary briefly chronicles Robbins’ involvement
and testimonies during the McCarthy Trials, and his
decision to share names for fear he would himself be
outed and lose his career.
One talking head interviewed was out actor and
writer Harvey Fierstein, who played Tevye in a 2004
revival of Fiddler. The film also delves into how the
themes in the musical are meaningful and relevant to
so many people, including LGBTQ people. Out actor
Adam Kantor additionally talked about how talks about how Stan had been imprisoned for being
the show can be read as an allegory for the LGBTQ gay before the laws were changed, and Garland
rights movement. sympathizes with him, emphatically declaring
“to hell with them.” Later on, when Judy falters on
Judy
stage during a show, Dan and Stan begin singing to
WIDEST THEATRICAL RELEASE: 1627 THEATERS
her, causing the entire audience to sing along in a
In this film that chronicles the final years in the life of climactic overture.
icon Judy Garland, homage is paid to the gay fans Considering Garland was so beloved by gay fans,
that loved her. The film explores Garland’s relationship and is still decades later, it was important that this
with her gay fans through a London couple, Stan and aspect of her life be portrayed in this film, and that
Dan, who attended all her shows, and even hosted these details be handled with great respect. Judy was
her for dinner one night. At their apartment, Dan nominated for a GLAAD Media Award.
20STUDIO RESPONSIBILITY INDEX 2020
2019
R AT I N G
INSUFFICIENT
TA R O N E G E RTO N AS E LTO N J O H N , R O C K E TMA N
Paramount Pictures
Summary of 2019 Findings With its origins dating back to the founding of the Famous
Players Film Company in 1912, Paramount Pictures was
9 films released theatrically in 2019
under studio & official imprints
formed in 1916 when the company merged with two
others. Paramount was then purchased by Viacom in
1994 and it currently remains under that banner. Viacom
3 total number of LGBTQ-inclusive films re-merged with CBS in 2019, making Paramount sit under
the ViacomCBS banner. Known for big budget franchises
such as Indiana Jones, Transformers, and Mission:
33 %
percent of LGBTQ-inclusive films of
studio total releases Impossible, Paramount became the first major studio to
sign a multi-picture film deal with streaming giant Netflix
2 number of films that pass the in November 2018.
Vito Russo Test
Paramount released several LGBTQ-themed or LGBTQ-
inclusive films starting in the mid-nineties, including
Studio Rating Over Time Home for the Holidays (1995), Clueless (1995), The
Brady Bunch Movie (1995), Brain Candy (1996), Kiss
2019 Insufficient Me Guido (1997), Election (1999), The Talented Mr.
Ripley (1999), The Next Best Thing (2000), and The
2018 Insufficient Hours (2002).
One of the most significant LGBTQ films made by
2017 Poor
Paramount is the 1997 comedy In and Out which
received substantial press for a kiss between Kevin Kline
2016 Poor and Tom Selleck. The film was a hit at the box office and
joins The Talented Mr. Ripley among the top 10 highest
2015 Failing grossing LGBTQ films. In 2016, Paramount released
Star Trek: Beyond, the third film in the new Star Trek
2014 Adequate franchise, which showed Hikaru Sulu with his husband
and daughter. The inclusion of a gay man of color in such
2013 Failing a large franchise was a huge step in the right direction
for representation.
2012 Adequate
21STUDIO RESPONSIBILITY INDEX 2020
Rocketman Ali hears others’ thoughts including a man debating
WIDEST THEATRICAL RELEASE: 3610 THEATERS whether to go on Tinder or Grindr, a flamboyant
VITO RUS S O T E ST: PA S S gay man talking about how good he looks, and Ali’s
This GLAAD Media Award nominated fantasy-musical friend’s husband admitting to sleeping with one of his
biopic follows the life of legendary musician Elton golf friends. That final revelation turns into a dramatic
John and his decades-long partnership and friendship conflict where Ali spills the secrets of several men.
with his writing partner Bernie Taupin, including frank Unfortunately, this closeted hook-up is one of the
and honest handling of John’s struggles with addiction secrets shared at the couple’s wedding, and the reveal
and an abusive partner/manager. In addition to John is accompanied by dated, anti-gay humor that simply
himself, the film includes multiple gay characters. The does not align with a movie that features a central gay
credits for the film include a credit for “LA Transgender character.
Maid,” but GLAAD did not count this character
who was given next to no screen time or story. The
Wonder Park
character was played by a cisgender man. Without WIDEST THEATRICAL RELEASE: 3838 THEATERS
visibility into casting decisions, our hope is that the VI T O R US S O T E S T: FA I L
film’s creators did not intentionally cast a cisgender In this animated kid’s movie, the main character, June,
man to play a trans woman character, and perhaps is sent to math camp. There is a scene with several
named the character such in error. parents dropping off their children to camp, and this
John and his husband David Furnish, who produced grouping of families includes two dads with their arms
the film, have spoken out about the process of trying around each other as they wave goodbye to their
to make a film about John’s life for decades, and the child. Though a brief moment, this casual inclusion is a
struggles they faced trying to work with other studios nice addition, showing that queer parents are a part of
who wanted to tone down his story. Thankfully, the film this film’s world.
does not downplay any difficult or unsavory aspects
of his story, and presents John’s life in its full richness
and queerness.
The film was censored by some countries with anti-
gay laws, including Russia, which both John and
Paramount spoke out against, and was banned in
a small number. Despite this, Rocketman was very
successful at the box office earning almost $200
million worldwide, and Oscar and Golden Globe wins
for John. Bold storytelling with a queer character at
its center who is nuanced – and a dedicated team of
studio, director, and talent driving the film’s success – Opportunities Ahead
is just what we should come to expect from Hollywood Since 2016’s Star Trek: Beyond, which featured gay crew
in future. member Sulu and a glimpse of his husband and child,
there has been talk about further Star Trek sequels. Noah
What Men Want Hawley is set to direct the next Star Trek film, and has
WIDEST THEATRICAL RELEASE: 2912 THEATERS stated that the original cast might not all be in the newest
VITO RUS S O T E ST: PA S S film. If this is true, and John Cho does not return as Sulu,
there should still be LGBTQ representation demonstrating
A gender-flipped take on the 2000 film What Women
the franchise’s recent progressive strides made
Want, What Men Want follows sports agent Ali who in Beyond and the new Star Trek TV show, Discovery.
is cursed with the ability to hear men’s thoughts. She
Set for a summer 2022 release, Paramount has
turns to her assistant Brandon, who happens to be
a Dungeons and Dragons film based on the immensely
gay, and he agrees to help if Ali will agree to help him
popular roleplaying game upcoming. Many in the LGBTQ
become an agent. As part of her curse, Ali hears the community play D&D, and it would be an incredibly
thoughts of Danny, another co-worker who is having opportunity to strategically include LGBTQ characters in
sexual thoughts about Brandon. Ali lets Brandon in on the film and to leverage the passion for this game.
the secret, and by the end of the film, Brandon and
Danny are dating.
22You can also read
